10 A.M.,
May 21, 2019
Sale 10074

Lot
79, "Sailing on the Hudson near Nyack," by Francis Augustus Silva, oil
on canvas, 20
by 36 inches,
By Carter B. Horsley
This
May 21, 2019 auction at Sotheby's New York of American Art is
highlighted by a fine abstract landscape by Georgia O'Keeffe, a great
Hudson River scene by Francis Augustus Silva, a great mountain scene by
Sanford Robinson Gifford.
Lot 79 is a wonderful oil on canvas by Francis Augustus Silva
(1835-1886) that is entiled "Sailing on the Hudson near Nyack."
It measures 20 by 36 inches.
The catalogue provides the following commentary:
"Painted in 1872, Francis Augustus
Silva’s Sailing on the Hudson
near Nyack depicts a broad view of the Hudson River
Palisades and Hook Mountain near Nyack, New York as viewed from the
Hudson River. New York’s early Dutch settlers referred to Hook Mountain
as Verdrietige Hook, or 'tedious point,' due to the forceful gusts
of winds that sailors encountered while traveling through this region
of the river. The present work dates to a period of exceptional output
for Silva, who traveled frequently from New Jersey to Massachusetts in
search of desirable subject matter. Art historian Mark D. Mitchell
writes, 'By far the most famous of Silva’s themes from this early
period was not formal, but geographic: The Hudson River…his Hudson
River scenes are his most charming and effective early works…The
correspondence between the Hudson River and the quality of these
paintings is virtually inexplicable, as they stand apart aesthetically
from his other work of the early 1870s. Perhaps the phenomenon is best
explained simply as a serendipitous consequence of time and geography
of Silva’s concurrent artistic maturation and awareness of his Hudson
River School predecessors on their turf' (Francis A. Silva: In His Own Light,
New York, 2002, pp. 33-34).
"Sailing on the Hudson near
Nyack represents one of Silva’s most successful forays in the
Luminist idiom. Preeminent scholar John I. H. Baur first coined the
term 'Luminism' in 1954 to distinguish a group of Hudson River School
artists, including Silva, Martin Johnson Heade, and Fitz Henry Lane,
among others, for their unambiguously American consciousness of the
effects of light and atmosphere. In her discussion of the distinct
characteristics of the Luminist movement, the art historian Barbara
Novak writes, 'Luminist light tends to be cool, not hot, hard not soft,
palpable rather than fluid, planar rather than atmospherically
diffuse. Luminist light radiates, gleams, and suffuses on a
different frequency than atmospheric light…Air cannot circulate between
the particles of matter that comprise Luminist light' (Nature and Culture, London, 1980,
pp. 18, 29).
"The eastern seaboard,
specifically the Hudson River Valley, was a favored subject of Luminist
painters, who were attracted to the region’s clear light and relatively
undeveloped shores. In Sailing
on the Hudson, Nyack, Silva deliberately heightened the
atmospheric effects of sunlight to convey the transcendent qualities of
the natural world and man’s spiritual relationship to the physical
environment."
The lot has an estimate of
$700,000 to $1,000,000. It sold
for $740,000 including the buyer's premium as do all results mentioned
in this article.
The sale total was $19,021,250 with only 62.7 percent of the 83 offered
lots selling.

Lot 67, "A Lake Twilight," by Gifford
Lot 67 is a lovely
landscape of a lake at twilight by Sanford Robinson Gifford
(1823-1880). The cover illustration of the auction catalogue, it
is an oil on canvas, it measures 16 1/8 by 28 1/4 inches and was
painted in 1861.
The catalogue
provides the following commentary by Dr. Ila Weiss:
"Almost from the beginning of Sanford R.
Gifford’s career as a
landscape painter, in the mid-1840s, he found inspiration and delight
in the
confluence of light and air in nature, increasingly understood during
the 1850s
in terms of color. At the end of that decade he was repeatedly
commissioned to
paint vistas unified and glorified in golden aeriality, idealizing the
American
wilderness, often peopled with Native Americans and amusingly
titled Indian
Summer. An abrupt change of mood—dark, even menacing—invades
some of his paintings of the early 1860s, including A
Lake Twilight. This was interpreted in retrospect by George W.
Sheldon
as a conscious rejection by the artist of earlier stereotyping ('How
One
Landscape Painter Paints,' Art Journal, no. 3, 1877, pp.
284–285). In fact, many American landscape painters embraced twilight
subjects
during the anguished time leading up to and during the Civil War. For
Gifford,
whose patriotic as well as abolitionist proclivities had been expressed
in his
European Journals of 1855-57, the turmoil of this period, compounded by
constant awareness of the suffering from severe depression of his
brother
Charles—his kindred spirit in love of art and wilderness—imagery of
sunny
effulgence was no longer adequate (Sanford R. Gifford, 'European
Letters,' 3
vols., Archives of American Art, microfilm D21). Sanford joined the
Seventh Regiment, New York
State National Guard, in April 1861; Charles died of a drug overdose a
month
later.
"A Lake Twilight was purchased
soon after its completion in early 1861 for the art collection of the
Young
Men’s Association of Troy, New York. The painting is listed as #233 in
the Gifford Memorial Catalogue (The
Metropolitan Museum of Art, New York, 1881), 16 by 28 inches, sold in
1861 to
the Troy institution but not traceable twenty
years later. That upstate self-improvement organization, part of the
athenaeum
movement, was founded in 1835. It amassed a library, sponsored lectures
and
debates, and held annual art exhibitions, all necessitating fundraising
that
was supported by Gifford and other artists. The Gifford painting shown
in their
1861 exhibition as 'Sunset' was probably A Lake Twilight. Other works of his
had been acquired there
in 1859 and 1860 (Ila Weiss, Poetic
Landscape: The Art and Experience of
Sanford R. Gifford, Newark,
Delaware, 1987, p. 86; Kevin J. Avery and Franklin Kelly, eds., Hudson River School Visions: The
Landscapes of
Sanford R. Gifford, New York, 2003, p. 117).
"Two
known
paintings by Gifford may be considered preliminary to the twilight
painting. A Mountain Lake at
Sunset,
7 by 12 inches (MC 493), at the New Britain Museum of Art in
Connecticut,
retains elements of Indian Summer imagery: a central iconic mountain
beyond
water and forested foothills, doubled in reflection; and a wigwam and
its
presumed occupant beaching a canoe in the left foreground, derived from
Gifford’s 1859 drawings of the Micmacs of Nova Scotia. The vista may be
a
recollection of the double peaked Vermont
mountain, Camel’s Hump, viewed from across Lake Champlain,
an area Gifford had explored in 1858. In this painting, however, the
mountain
is darkened to cobalt blue in near-silhouette against a transitional
twilight
sky, the sun just disappearing behind a distant peak toward the right.
The sky,
pale azure at the upper edge blending to yellow towards the obscured
horizon,
is energized by horizontal streaks of pink-purple clouds fading in the
radiance, while pink-lit, purple toned cloud puffs rise in response to
the
mountain contour.
"Directly
preparatory to A Lake Twilight is
a painting called Twilight
Mountain at the
Lorenzo State Historic Site in Cazenovia, New York. As an inscription
on
the verso identifies the work as a Christmas gift of 1860, it was most
likely
painted not long after Sanford’s visit to his
ailing brother in Wisconsin
that September. Almost as large as the final version, 15⅞ by 21¾
inches, its
squarer format and looser brushwork project immediacy, as does the
replacement
of the nostalgia-laden Native American staffage with the
contemporaneity of a
white-shirted hunter loading a deer carcass into his bateau in the
foreground—an activity in which the artist may have engaged, possibly
accompanied by his early camping companion, Charles. While a ruddy
luminosity
subsumes details on the mountain side, red highlighted trees on the
middle-distant shore contract the space. A repoussoir of dead tree
trunks at
the left and a bristling fallen trunk at the bottom edge create a
tactile
visual barrier to the evoked experience.
A
comparison
of the preliminary study with the resolved imagery of A Lake Twilight further
reveals the
artist’s process and intention. The lurid coloring of the study is now
modified
as a more subtle mixture of warmth and coolness to capture a fleeting
light-moment. Toward the right, warm white light of the just-set sun,
thickly
painted, is tenderly reflected by small cloud streaks, their impasto
texture
catching actual light to intensify the effect. The sky, deepened to
grayed
azure at the left, fades in response to the white effulgence, with the
pale
salmon-colored horizontal cloud-bar bisecting the peak comparably
affected. An
elegant contour refines the shape of the double-humped mountain, its
rightmost
peak curving in response to the brilliant light. Despite the
transformation, an
old inscription on the stretcher, not in Gifford’s hand, identifies the
view as
'Twilight in the Green Mountains, Vt.,'
possibly confirming the Camel’s Hump identification. Momentarily
affected by
the dazzling radiance, the mountain peak glows light salmon above
gray-purple
shadow. In the foothills, a few black conifers and red-orange
highlights on
scattered trees evoke the dense forest submerged in purplish-brown
gloom. The
watery reflection doubles the dark warm tones of mountain and hills,
then the
sky’s gray-blue, with white containing hints of yellow and salmon
echoing the
light drama in the right foreground. The space is magnified in breadth
and
depth, the far shore widened to occupy the more horizontal format and
its
recession exaggerated through adjustments of scale and tonal
modulation.
Highlights are now picturesquely concentrated on the foreground, white
and
salmon touching rocks and a birch tree that replaces some of the bare
trunks of
the study’s repoussoir; and access to the hunter has been cleared.
Juxtaposed
to the substance and weight of the foreground, the more tonally
unified, deeply
colored aerial distance is separated as a realm of beauty and
ideality—a
memory, perhaps, and a welcoming escape.
"That
this
painting may have been closely related to a lost National Academy
exhibition
piece of 1859, A Sunset in the
Wilderness, an
earlier moment, is suggested by a description of the latter as
'gorgeous
in color, the western sky filled with golden light, the mountains
bathed in the
gloom of the coming darkness, and the rosy tints reflected from the
brilliant
clouds, and the deep blue of the sky above, are very happily brought
down into
the soft verdure and the quiet waters of the foreground' (“Exhibition
at
the Academy of Design: Second Article,” New
York Semi-Weekly Tribune, May 17, 1859, p. 2).
"Another observer commented, Gifford’s 'pictures are remarkable
for expression, a quality that we so often
miss in the most elaborate and finished productions' ('Galleries of the
Academy of Design,' Manufacturers and
Farmers Journal, Providence, Rhode Island, May 9, 1859, p. 2).
"Gifford’s
twilight
imagery at the brink of the Civil War culminated in the huge, for
Gifford, Twilight in the
Catskills, 27 by 54 inches, at the Yale University
Art Gallery
in New Haven, Connecticut. The impact of its size, wide
format, and dramatic effect of colored light created a sensation at the
1861
National Academy Annual, widely recorded. Its heavily clouded upper
sky,
stained dark red by the afterglow and punctuated with red-orange
cloud-dashes,
looms over a narrower band of luminous orange containing yellow
radiance at its
center. A distant string of mountains is plunged into near-blackness,
its forms
barely discernable in the dim red light. Bare dead trees bracket the
panorama,
black lines against the sky. In the gorge below the vantage point,
brilliant
reflected sky light snakes along a waterway into the inky distance.
While
the
Catskills painting was Gifford’s most dramatic twilight image,
reactions to it
suggest the impact of similar contemporary imagery, fraught with
emotion,
including A Lake Twilight.
At a preview exhibition of the Catskills painting one reviewer
commented, 'the
luminous sky, empurpled hills, and finely glowing sentiment of the
whole,
indicate that the artist of this picture has a power of color-treatment
that
has been partially latent in previous efforts' ('The Artists’ Reception
at the
Studio Building,' World,
March 7, 1861, p. 5). When shown at the National Academy, Twilight in the Catskills was
proclaimed 'the representative landscape of the year.'
'Nothing
approaching it in power, in a certain volcanic intensity…is to be found
in the
exhibition…The picture unites many of the elements essential to a grand
and
powerful interpretation of one of those capricious moods in which
Nature
sometimes indulges. The sunset is not an average sunset. The royal
purple of
the hillsides is not their habitual evening garb. The light which the
stream
reflects is ghastly…Even the dead golden tinge which kindles upon the
distant
tree tops, and glimmers through the brooding purple of the twilight,
has about
it something mysterious and alien…These are the exceptional moods which
Nature
delights to talk of, and it seems to us that Mr. Gifford has hit upon
and
reproduced such a one. His work…could hardly be more powerful or imply
a more
thorough mastery of the resources of the palette' (Fine Arts: National
Academy of Design,' World,
April 6, 1861, p. 3)."
The lot has an estimate of $1,200,000
to $1,800,000. It sold for
$2,900,000.

Lot 10, "Waterfall, No. 2, Iao Valley, oil on canvas, 24 by 20 inches,
1939
Lot
10 is an excellent landscape oil on canvas by Georgia
O'Keeffe that was painted in 1939. Entitled
"Waterfall No. 2, Iao Valley, it measures 24 by 20 inches.
The catalogue provides the following commentary:
"Georgia O’Keeffe first
traveled to the Hawaiian Islands in 1939, by which time she had firmly
established herself as a prominent voice in modern art in America
through
her deeply personal images of magnified plants and flowers, as well as
the
sun-bleached animal bones of the deserts in the American
Southwest.
Attracted by O’Keeffe’s success and her distinctive interpretation of
natural
subjects, the Hawaiian Pineapple Company, now known as the Dole
Pineapple
Company, sent the artist to Hawaii
to create images of pineapples for a new promotional campaign.
Instantly
captivated by the region’s lush tropical landscape—so different from
anything
she had previously experienced—O’Keeffe spent nine weeks exploring its
unique
natural character, ultimately completing twenty paintings of the
delicate yet
powerful waterfalls, dramatic valleys and chasms, and the tropical
flora that
she encountered there. O’Keeffe recognized her powerful reaction to
Hawaii and
the influence it had on her work, writing to the photographer Ansel
Adams, who
made his own inaugural trip to the region in 1948 on assignment for the
United
States Department of the Interior, that 'I have always intended to
return [to
Hawaii]…I often think of that trip at Yosemite [with you] as one of the
best
things I have done—but Hawaii was another' (Georgia
O’Keeffe’s Hawai’i, Kihei, Hawaii, 2011, p. 25).
"The present work is one of four images O’Keeffe painted of the
spectacular
waterfalls in the Īao Valley on Maui.
Though her subject here is entirely unique within her
celebrated oeuvre of natural scenery, the lens
through which she interprets it evokes her profound, almost spiritual
reaction
to the landscape, the quality that pervades the entirety of her body of
work.
Here, O’Keeffe emphasizes the drama of the setting by allowing the
powerful
cliffs to dominate the composition. She eliminates the foreground
entirely and
includes only a small area of blue sky and clouds, implying that the
viewer is
closely positioned to these mountainous forms. O’Keeffe captures the
fecundity
of the Hawaiian landscape by applying passages of shades of verdant
green to
render her subject. Her crisply defined contours and careful modeling
of forms
create sculptural depth on the picture plane, while simultaneously her
disregard for traditional scale and spatial depth contributes to a
modern sense
of flattened patterning. As such, the traditional landscape is
transformed
into an abstract design of organic lines and shapes. 'It is surprising
to me to
see how many people separate the objective from the abstract,' she once
explained of her intent. 'Objective painting is not good painting
unless it is
good in the abstract sense. A hill or tree cannot make a good painting
just
because it is a hill or a tree. It is lines and colors put together so
that
they say something. For me that is the very basis of painting. The
abstraction
is often the most definite form for the intangible thing in myself that
I can
only clarify' (Barbara Haskell, Georgia
O’Keeffe: Abstraction, New York, 2009, p. 166).
"O’Keeffe exhibited her Hawaii paintings for
the first time on February 1, 1940 at An American Place in New York. In
the introduction to the
exhibition catalogue, she articulated the esteem with which she
regarded this
new artistic output, writing 'If my painting is what I have to give
back to the
world for what the world gives to me, I may say that these paintings
are what I
have to give at present for what three months in Hawaii gave to
me...What I
have been able to put into form seems infinitesimal compared with the
variety
of experience' (Georgia O'Keeffe:
Exhibition of Oils, Pastels, New York, 1940, n.p.) This
body of work was met with enthusiastic praise, with critics
recognizing
and remarking on the success this new outlet afforded her aesthetic.
The New York World-Telegram enthused,
'[O’Keeffe’s] pictures, always brilliant and exciting, [now] admit us
to a
world that is alien and strange' (Georgia
O’Keeffe’s Hawai’i, p. 20)."
The lot has an estimate of $500,000 to $700,000. It sold for $932,000.

Lot 73, "Two Arapaho," by Alfred Jacob Miller, watercolor and gouache
on paper laid down on card, 9 1/2 by 12 1/14 inches
Lot
73 is a very fine watercolor and gouache on paper laid down on card by
Alfred Jacob Miller that is entitled "Two Arapaho." It measures 9
1/2 by 12 1/4 inches.
The
catalogue provides the following commentary:
"In the narrative extracted from The
West of Alfred Jacob Miller (1837), the artist writes, 'This
scene represents an Arapaho Indian en famille, smoking his pipe
and reposing under a blanket suspended from the branches of a tree, to
screen them from the sun. We saw some fine specimens of this tribe.
They do not shave their heads like the Sioux, but braid the center or
scalp lock with ribbons or feathers of the 'War Eagle.' We noticed also
a difference in their moccasins, the fronts extending only to the
instep and wanting the side flaps. Indians are capable of designating a
tribe very often by merely having the moccasins. The Arapahos were
tall, finely formed men, from 5 ft. 8 in. to 6 ft. in height. In
setting out on their war parties, the process of painting, dressing,
and adorning themselves occupies considerably of their time and
attention. When a party is seen scouring over the prairies under these
circumstances it bodes no good to those they happen to encounter. As
regards their steeds, they have no geldings & we saw none, except
those brought from the States. The animal thus preserves all his game
spirit & is capable of great endurance. They partake somewhat of
the Arabian breed" (Alfred Jacob Miller, The West of Alfred Jacob
Miller (1837): From the Notes and Water Colors in The Walters Art
Gallery with an Account of the Artist by Marvin C. Ross, Norman,
Oklahoma, 1968, p. 73)."
The lot has an estimate of $150,000 to $250,000. It failed to sell.

Lot 46, "Ruins at Baalbeck," by Frederic Edwin Church, oil on canvas,
21 3/4 by 36 1/8 inches, 1868
Lot 46 is a fine Middle East landscape,
"Ruins at Baalbeck," oil on canvas by Frederic Edwin Church
(1826-1900). It measures 21 3/4 by 36 1/8 inches and was painted
in 1868.
The catalogue provides the
following commentary by Dr. Gerald L. Carr:
"A
chance, congenial encounter at Beirut,
Lebanon,
prompted this, Frederic Edwin Church's first full-fledged Near Eastern
studio
venture. Church painted this work during his only transatlantic
journey,
November 1867 to June 1869. Accompanied by his wife, young son, and
mother-in-law, he visited several European countries including France, Britain,
Germany, Switzerland, Italy,
portions of the Ottoman Empire in the southern Mediterranean,
Cyprus, Turkey, and Greece.
The southerly segments of
their family travels were commemorated in a recent touring U.S.
museum
exhibition organized by the Detroit Institute of Arts, Frederic Edwin Church: A Painter's Pilgrimage, 2017-18.
"Edward
F. de Lancey,
(1821-1905) a widowed New York lawyer
then
touring Asia Minor whom Church met at Beirut
during January or February 1868, commissioned the present picture.
Church began
the canvas while at his seaside Beirut
hotel,
continued working on it mid-year in Alpine Germany, completed it at Rome autumn 1868, and sent the finished picture
to de
Lancey in New York via London. In
effect the painting became
the artist's long-distance Syrian surrogate during the sole calendar
year he
spent away from the United
States in 1868. Church much
liked the
result; he reported that visitors to his Rome
studio admired it; the buyer, de Lancey, also liked it. The scene is a
capriccio—i.e., composed prospect involving fictive ruined
architecture. It
moodily visualizes sparse Ottoman Syrian Roman remnants at sundown amid
the
region's semi-deserts, weathered, horizontally proportioned mountains,
elongated
coastline, and thinned human and domesticated animal populations. Its
current
title is modern and approximate. No early designation is recorded; it
was not,
apparently, publicly exhibited at the time. In extant documents Church
termed
it "a Syrian subject." An undated torn, yellowed typewritten label on
the back of the stretcher which says, correctly, that it was painted
"by
order," identifies it as "The Lebanon Mountains."
"In three extant letters...written during 1868 from, respectively,
Beirut, Paris,
and New York,
de Lancey discussed the commission, referring also to correspondence
from the
artist, one letter existing...the others unfortunately lost.
Initially de Lancey asked only that Church paint something of 'oriental
character as a memento of my visit to these ancient and sacred lands.'
As
de Lancey later made clear, Church conceived combining inland features
and
'a stretch of the Mediterranean with
that
soft and superb blue, that it has only in the East.' De Lancey liked
that
idea, shared Church's vicarious fascination with ruined Palmyra
in present-day Syria,
and
considered accompanying him to Palmyra;
unfavorable circumstances, however, cancelled that journey for both of
them.
After starting the canvas, Mr. and Mrs. Church did visit Baalbek,
in Lebanon's
fertile Bekaa
Valley,
May 1868. In the present painting, the Corinthian columnar remnants and
parched
setting are, one might say wistfully, more Palmyrean—or perhaps
evocative of
Kunawat, Borsra, in present-day Syria, or Jerash, in present-day Jordan
(to
neither of which Church went, either, but which he knew through visual
and
verbal sources)—than Baalbekian. The painting's most Baalbekian aspect
is the
collapsed Corinthian capital at lower left, which simplifies Church's
on-site
penciled and painted vignette (Cooper-Hewitt, Smithsonian Design
Museum, New
York; inv. no. 1917-4-581) of Baalbek's
'Temple
of Bacchus.'
Lebanese seaside
classical sites today within automobile reach of Beirut
at Tyre and Byblos, both (particularly the
former) with
impressive upright columns, are mostly modern re-erections. Church
passed Tyre south of Beirut five
times by boat (the first, at night) but made no mention of it in extant
documents; Byblos, north of Beirut, he may
not have seen. He could,
however, have read about both places, and he acquired at least one
photograph
(at Olana) of 'Old Tyre.' En route to Petra,
in Jordan,
during a key sketching expedition from Beirut February-March 1868, he
had
traversed impressive inland deserts. Ruins of
Baalbek affirms that soon after settling at
Beirut, which served as his base of operations between January and May
1868, he
consulted available prints and photographs of regional antiquities and
leafed
books to which he has access, coordinating those sources with
increasing
firsthand experiences and letting his imagination roam.
"As a studio project, the present picture was re-orienting—or
Orientalizing—for
Church. He began it just weeks after having surveyed in London during
December
1867 with a well-connected English escort, the editor, playwright and
art
critic Tom Taylor (1817-80), the bewildering studio contents which
J.M.W.
Turner (1775-1851), the far-famed English landscape and marine painter,
had
bequeathed to Britain. An autographed photograph portrait of Taylor dated 'Dec 1867,' preserved at Church's
former home, Olana, in Upstate New York (New York State Office of Parks,
Recreation, and Historic
Preservation, Olana State Historic Site, Taconic Region; inv. no.
1986.228),
helps document their rendezvous. That encounter couldn't have been more
timely:
shortly before he himself set foot in the Mediterranean,
Church sought, and obtained, comprehensive contact with Turner's art.
Between
1857 and 1865 Taylor had favorably
reviewed for
the London Times newspaper
four displays in London of Church's major Western
Hemisphere canvases. During his career Church was
influenced by
and often compared to Turner. Prior to 1867, Church would have counted
himself
lucky to have viewed the two principal
paintings by Turner then in the U.S.
Both were marines with ships, and both were owned by James Lenox
(1800-80), a
wealthy, reclusive New York philanthropist and bibliophile whose
prodigious
book, manuscript, and art collections remained mostly sequestered until
after
his death. More than once American journalists of the 1850s and 1860s
had
alluded longingly to Lenox's Turners, "which everybody has heard of but
nobody has seen." Church's privileges thereto stemmed from his having
painted for Lenox a major equatorial canvas, Cotopaxi (1862;
Detroit Institute of Arts, Michigan).
In London a
half-dozen years later—select framed works by Turner were then housed
at the
National Gallery on Trafalgar Square, while the remainder and his
studio
materials were in storage—Taylor helped release for Church a floodgate
of
artistic stimuli in that vein. Years later Church recollected having
viewed
there 'a great many of Turner's smaller pictures and sketches.'
Turner had been enraptured by Italy,
particularly Venice,
which, admittedly, didn't interest Church. Turner had not traversed the
southern Mediterranean, nor had he seen mainland or isled Greece,
but he
had known people who had. Aided by their testimonies and his own
literary and
image prowlings, from the eighteen-teens he frequently painted
evocative
fantasies involving ancient Rome and Roman personages and deities, and,
occasionally, ancient Greek equivalents qua Greece.
Though landscape vocabularies Turner
mulled fabled empires, conquests and defeats, imposing sharp-edged and
crumbled
edifices, and pullulating crowds. In those respects as in others,
Turner was
heir to the French Baroque landscapist who had lived in Rome, Claude
Lorrain (1600-82), as Church
also knew.
"Church's Ruins of Baalbek attenuates
Turner's mid- and late-life Mediterranean oeuvre and
to a lesser extent Claude's images with
ruined architecture, while maintaining Church's signature
verisimilitude. In
1992 ('Frederic Edwin Church and Italy;' cited above) I
wrote that
the present painting 'is spare, desiccated, granular, as though
atmosphere
as well as objects were defined through shifting sands.' Recent
technical
examination done at the Detroit Institute of Arts suggests that the
canvas has
lost some of its original subtleties, and that during the painting
process
Church changed his mind about portions of the composition. Regardless,
it was
always thinly brushed. Overall the finished painting was, and remains,
deliberately distinct from anything he'd previously done in his
studio(s). De
Lancey's third letter to Church recapped Church's satisfaction with the
picture
and pondered its possible public display. 'As to when & where to
have
it shown here, write me at
once your own wishes, & they shall be fully carried
out,'
de Lancey offered. 'In my own house of course, very many would not see
it,
whom you would like to see it for your own sake. And as you tell
me it is
the 'finest' in color & possesses 'more sentiment' than any you
have yet
executed—the public for their
own sake should have a free opportunity of viewing
it...I feel
from what you say, that you have produced an extraordinary work, and am
truly
grateful that you have taken so much interest in my commission as to do
so" (Letter from Frederic Edwin Church to Edward de Lancey, Hudson, New
York, November 23, 1868).
"Church's next Mediterranean studio canvas, the same-size Valley of the Lebanon..., was painted entirely at
Rome.
There, the depicted architecture is more ample, abundant, and
particularized,
the firmament and staffage comparatively intricate, and the environment
inland.
Because of problems with that painting's prospective English buyer,
Church
consigned Valley of the
Lebanon (one of several titles accorded that canvas
early on)
to the American art market, by which means it became, November 1869,
his first
Mediterranean-theme work displayed in the U.S.
"It seems to me that the muted Turnerian tenor of Ruins of Baalbek honestly
signals Church at that initiating transitional period for him, 1868,
and the
bolder Valley of the Lebanon at
that subsequent transitional period, 1868-69. Through his travels in
Europe and
especially the Mediterranean, he
really did
want artistically to re-frame but avoid duplicating himself. I would
say that
he succeeded. It counts that he believed he had, as well."
It has an estimate of $1,000,000 to
$1,500,000. It failed to sell.
c
Lot
43, "Sunset on the Arno," by Thomas Cole, oil on canvas, 32 by 51 1/4
inches, 1837
Lot 43 is a large oil on canvas by
Thomas Cole (1801-1848) entitled "Sunset on the Arno. It measures
32 by 5 1 1/4 inches and was painted in 1837.
The catalogue provides the
following commentary:
"Thomas
Cole’s singular legacy remains as the progenitor of the Hudson River
School, the
first native art movement born within the United States. Learning from
Cole, ensuing generations of painters working within
this genre were
able to visually parallel the untapped resources of the American
wilderness
with the potent energy of a maturing nation. Born in Lancaster,
England in 1801, Cole
emigrated to the United States
with his family and settled in Philadelphia
when he was seventeen. By 1825 Cole had moved repeatedly, spending time
in Ohio and Pittsburgh,
before arriving in New York where he
traveled up the Hudson River for the first
time. The young painter quickly rose to significant prominence within
New York’s cultural
community to become one of the founding members of the National
Academy of
Design the same year.
"Cole’s early success enabled him to take the 'Grand
Tour' in 1829, visiting England,
France and Italy over a
three year period. While he virulently disliked the French artists of
his day,
Cole found refuge in the natural splendor of Italy. Like many in
the American cultural and intellectual elite of the early
nineteenth
century, Cole developed a strong interest in the compelling duality of
Italian
history. Visiting Americans could marvel at the former majesty and
achievement
of their Roman past, lamenting its dissolution ever-present in the
Romantic
ruins and crumbling aqueducts, and claiming their nation as the
intellectual
successor to the Classical world.
"Compared to the robust, unconquerable landscapes that define
Cole’s Hudson River paintings, Sunset
on the Arno presents a softer, more tranquil version of nature.
Defined
by the serpentine Arno river, which eaves
through the foreground and middleground of the picture, the composition
encourages the viewer’s eye to meander through the picturesque
countryside. To
the right and above in the distance are the dark woods of the Cascine.
Beyond
them, the mountain summit half dissolves in the vapory splendor of an
Italian
sunset. Although there are several structures present in the
composition, they
too seem only a degree removed from the natural world, mere elements of
the
background and not the intended subject of the work. An airy
warmth
radiates from the fading sun and the river is denoted by pale
amber
tones with highlights of dusty pinks and warmer blues.
"As with his trips through Upstate New York and New England,
Cole kept sketchbooks full of careful pictorial and written notes while
traveling through Italy.
He heavily relied on this documentation as an aide-mémoire for his
studio
compositions. Cole rarely based his final canvases on a single
sketch or
description, choosing instead to amalgamate multiple sources
combined with
elements from his imagination. Per this working process, Cole
completed Sunset on the Arno in
1837, five years
following his return to North America, and one year after he completed
his
celebrated series The Course of
Empire (1833-36, New-York
Historical Society, New York).
As in his best compositions, the present work demonstrates Cole's
unique
ability to “draw a veil over the common details, the unessential
parts,
which shall leave the great features, whether the beautiful or the
sublime,
dominant in the mind” (Matthew Baigell, Thomas Cole, New York, 1981,
p. 13).
"This harmonization of precise details of compositional
elements, such as the charming river boats and their canopies, with the
atmospheric and ambiguous setting of countryside bathed in early
evening light,
creates a compellingly timeless vision of Italy. The stillness and
tranquility of the composition presents the viewer with a vista that
feels
unaffected by time, and a way of life lived in continuity for
centuries. The
Italian landscape offered the American creative intellect a tangible
heritage—a
visible past which was not found in the uncultivated wilderness of
their
native land."
The
lot has an estimate of $600,000 to $800,000. It failed to sell.

Lot
20, "The Carpenters," by Jacob Lawrence, gouache, watercolor and pencil
on paper, 19 1/2 by 25 1/2 inches, 1946
Lot
20, "The Carpenters," is a watercolor and pencil on paper by Jacob
Lawrence (1917-2000) that measures 19 1/2 by 25 1/2 inches.
The catalogue provides the following
commentary:
"Jacob Lawrence executed The
Carpenters in 1946, soon after he completed his military
service during
the Second World War. The body of work executed by the artist upon
his
return home demonstrates his profound interest in the depiction of
African
American workers and labor, subjects that would preoccupy him for
nearly the
entirety of his career.
"Lawrence synthesizes dark and light tones to
portray the principal elements of the composition, creating tonal
modulations
that imply volume and create a remarkable dynamism that permeates the
composition. Indeed, In the present work, Lawrence
depicts an industrious carpentry shop, its employees all busily engaged
in the
tasks of the day. The work aptly exemplifies Lawrence’s signature
Cubist-based style,
demonstrated in the compressed pictorial space, his reductive color
palette and
use of angular planes and fractured forms. LawrenceLawrence
actively considers the structural role of color in works such as The
Carpenters, once articulating its power as “change as you move
over the
picture plane, in any of the elements with which you are working—the
change of
the texture, line, the warm color against a cool color, a shape. [How a
color]
in a round shape means something different if it’s a square or a
rectangle” (as
quoted in Lowery Sims Stokes, “The Structure of Narrative: Form and
Content in
Jacob Lawrence’s Builders Paintings, 1946-1948,” Over
the Line: The Art and Life of Jacob Lawrence, Seattle, Washington, p.
208).
"Works
such as The Carpenters display
Lawrence’s incisive examination of social
issues, particularly the African American experience in the post-war
years. Not unlike the images of barbers, builders and seamstresses
Lawrence produced during this period, The
Carpenters depicts a profession that did not legally or
socially exclude black Americans, thus capturing “the economic
advancement that
marked the war years for African Americans as well as the aspirations
for
greater advancement in American society, which would coalesce into the
civil
rights movement in the 1950s” (Ibid., p. 211).
"Lawrence would
return to The Carpenters
subject again in the late 1960s, placing it among
the most persistent themes in his body of work. The present
work was
unknown to Lawrence
scholars until 2019, having remained in the family of its original
owners, who
purchased it from The Downtown Gallery soon after it was completed
in 1946."
It has an estimate of $500,000 to $700,00. It sold for $980,000.

Lot 16, "Shakespeare at Dusk," by
Edward Hopper, oil on canvas, 17 1/4 by 25 1/8 inches, 1935
Lot
16 is an excellent oil on canvas by Edward Hopper (1882-1967) entitled
"Shakespeare at Dusk." It measures 17 1/4 by 25 1/8 inches and
was painted in 1935. It was once owned by John J. Astor VI of New
York and included the "Romantic Painting in America" show at he Museum
of Modern Art in New York in 1944 and a retrospective on the artist at
the Whitney Museum of American Art in 1982.
The catalogue provides the following commentary:
"Among
the most
significant painters of the twentieth century, Edward Hopper cultivated
a
quintessentially American aesthetic marked by evocative images that
captured
the subtle intrigue and psychological complexity of modern urban
existence. His
contemplation of the commonplace and his penetrating study of the
psyche burrow
deep beneath the unremarkable surfaces of archetypal American subjects:
nighttime diners, dimly-lit hotel interiors, and forlorn vernacular
architecture. Though based on a fundamental commitment to naturalistic
representation, Hopper’s work transcends mere narrative illustration in
search
of the symbolic and suggestive. His art serves as a form of
sublimation, a
deeply personal expression of his inner emotional response to the
physical world.
Summarizing the difficulty of imbuing his paintings with incommunicable
thought, Hopper once remarked: 'If I could say it in words there would
be no
reason to paint it' (as quoted in Edward
Hopper & Company, San Francisco, California, 2009, n.p.).
"Painted in 1935, Shakespeare at
Dusk captures
the visual poetry of twilight in a large city, when the cacophonous
noise of
streetcars and elevated trains begins to acquiesce to the stillness of
night.
This Central Park scene belongs to Hopper’s celebrated series of New
York
cityscapes—subject matter he explored early in his career while
studying under
Robert Henri and continued until his death in 1967. A lifelong lover of
poetry
and prose, Shakespeare at Dusk is
among the only major works in Hopper’s oeuvre that
overtly references the profound influence of literature on his
emotional
response to specific times of day, particularly the evening. The poems
that he
quoted, often as explanations for his own art, frequently focus on the
mood of
dusk—its sense of mystery, anxiety, and eros born out of the varying
effects of
light and shadow.
"Based on Henri’s teaching, Hopper’s formative New York
canvases, such as Blackwell’s
Island (1911 Whitney Museum of American Art, New
York), Queensborough Bridge (1913,
Whitney Museum of American Art, New York), and East River (1920-23, Private
collection), are
devoted to scenes along the city’s waterways near his former studio at
53 East
59
thStreet. Hopper did not
return to specific New York subject matter until the late 1920s when he
painted The City (1927,
University of Arizona Museum of Art, Tucson, Arizona), a second
iteration
of Blackwell’s Island (1928,
Crystal Bridges Museum of American Art, Bentonville,
Arkansas), Williamsburg Bridge (1928, The
Metropolitan Museum of Art, New York), and Manhattan Bridge Loop (1928,
Addison Gallery of
American Art, Phillips Academy, Andover, Massachusetts). In the
following
decades, Hopper ventured further uptown for subject matter, portraying
the
Harlem River in Macomb’s Dam
Bridge (1935, Brooklyn Museum, New York), Central Park
in Bridle Path (1939,
Private collection), and Riverside
Park in August in the City (1945, Norton Museum of
Art, West
Palm Beach, Florida). Nearer his studio at 3 Washington Square North,
where he
lived and worked from 1913 until his death, Hopper based Early Sunday Morning (1930,
Whitney
Museum of American Art, New York) on shops along Seventh Avenue
and Nighthawks (1942,
Art Institute of
Chicago, Illinois) on a restaurant on the corner of Eleventh Street and
Seventh
Avenue. In a 1935 interview for the New
York Post, the
reporter Archer Winsten asked what Hopper did for fun. He replied: “I
get most
of my pleasure out of the city itself” (as quoted in Gail Levin, Edward Hopper: An Intimate Biography,
New York, 1995, updated
& expanded 2007, p. 270).
"Shakespeare at Dusk depicts
two statues cloaked in shadow near the deserted southern end of the
Central
Park Mall, which is illuminated by the vibrant afterglow of sunset on
the
horizon behind the shadows of high-rises at the western end of the
park. The
inclusion of identifiable modern skyscrapers is exceedingly rare in
Hopper’s oeuvre and
the present work is one of only a few New York scenes where the exact
physical location is
clearly apparent. In the foreground, Hopper presents John Quincy Adams
Ward’s
full-standing sculptural portrait of the celebrated playwright William
Shakespeare, with his head bowed in contemplative thought. Describing
the
scarcity of recognizable buildings in his work, Hopper stated: 'I think
a lot
about the interiors of big cities. I probably try to represent
something
universally valid' (as quoted in Gerald Matt,Western Motel: Ed ward Hopper and Contemporary Art,
Nuremberg, Germany,
2008, p. 7). While a universal representation of a city at
twilight, Shakespeare at Dusk is
an
unmistakably specific New York
image.
"In the artist’s record book next to a small sketch of the present
canvas,
Hopper’s wife, Jo, wrote: 'Shakespeare
at
Dusk. Mall, Central Park about 5
P.M. Nov. [November] dusk with pink glow in sky back of trees.
Foreground grey
pavement, slightly warmed by glow in sky overhead (offstage). 2 statues
on high
pedestals—L. [left] Shakespeare—green; R. [right] Columbus not
distinct. Foreground R. [right]
tall bare tree trunk dark. Foliage across middle green & brownish.
Red lit
electric sign outside park showing thru foliage not well explained. Big
unlit
sign U.S.
top of building L. [left] back. No other signs on windows lit yet.
Silhouette
of buildings outside park across back grey blue” (Artist's Record Book,
vol.
II, p. 9). Hopper consigned Shakespeare
at Dusk to the Frank K. M. Rehn Gallery on November 21,
1935,
shortly after completing the work in his studio. As was typical of his
working
method, he made several detailed pencil sketches on location that later
served
as references for the final oil. The ambiguity of narrative
content in
Hopper's paintings, like Shakespeare
at Dusk, sparks the imagination and provokes an endless
interpretation of meaning. Loath to provide commentary on his own art,
Hopper
did explain: 'There is a certain fear and anxiety, a great visual
interest
in the things that one sees coming into a great city' (as quoted in
David
Anfam, 'Rothko's Hopper: A Strange Wholeness,' ed. Sheena
Wagstaff, Edward Hopper, London, 2004, p. 39).
"The preeminent Hopper scholar Gail Levin comments: 'Hopper’s mature
cityscapes
were generally undisturbed by human presence. There is often an eerie
feeling
born of this desertion, this absence of activity' (Edward Hopper: The Art and the Artist, New
York, 1980,
p. 45). When an interviewer commented on the lack of figuration, Hopper
observed, 'It’s probably a reflection of my own, if I may say,
loneliness. I
don’t know. It could be the whole human condition' (as quoted in Gail
Levin, Edward Hopper, New York, 1984, p. 69).
"The present work is singular in Hopper’s oeuvre in its
direct reference to a literary figure
that had a significant influence on the artist’s career. While most of
his
paintings contain elements of poetic inspiration, few are as forthright
as Shakespeare at Dusk.
As
Gail Levin suggests, the title of the painting invites a comparison to
the
bard’s oft-quoted description of autumnal twilight:
"That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day
As after sunset fadeth in the west
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
(William Shakespeare, Sonnet 73)
"The darker connotations of the last lines may have been particularly
meaningful
to Hopper whose mother had passed away earlier that year on March 20,
1935 at
the age of eighty-one. The loss of his only surviving parent appears to
have
activated Hopper’s own conception of his mortality and his interest in
evening’s waning light, as seen in Shakespeare
at Dusk and House at
Dusk (1935, Virginia Museum of Fine Arts, Richmond,
Virginia)
of the same year.
"Hopper was a lifelong lover of literature and poetry. As a young
boy, he
discovered English classics and French and Russian translations in his
father’s
library, which he often illustrated with his own drawings and sketches.
This
practice continued into his early career, when he worked rather
begrudgingly as
a commercial illustrator for a variety of periodicals and magazines. In
his
adulthood, he indicated a fondness for Paul Verlaine, Marcel Proust,
Johann
Wolfgang von Goethe, Ralph Waldo Emerson, Sherwood Anderson, Ernest
Hemingway,
John Dos Passos, Robert Frost and Henrik Ibsen. It was through study
with Henri
at the New York School of Art that he became intensely interested in
literature
and its relationship to the visual arts. According to his classmate
Rockwell
Kent, Henri’s pupils often talked of literature. They discussed
Verlaine,
Eugene Sue, Charles Baudelaire, and the French Symbolist poets, which
Kent
described as “in keeping with the slightly morbid overtone of Henri’s
influence’” (as quoted in Gail Levin, “Edward Hopper’s Evening,” The
Connoisseur, September 1980, p. 56).
"Stemming from his early interest in literature and Henri’s
philosophical
teachings, Hopper’s paintings surpass an exact transcription of a
physical
location to convey a literary sense of mood and emotion. Most often
these
personal expressions are tied to the artist’s own feelings towards a
specific
time of day, as in Shakespeare
at Dusk.
Writing on Henri’s influence and Hopper’s sensitive evocation of the
evening
hour, Gail Levin states: “Hopper always managed to extract an authentic
sense
of mood. On this subject, Robert Henri offered more specific advice:
‘Low art
is just telling things, as, there is the night. High art gives the
feeling of
night. The latter is nearer reality, although the former is a copy’”
("Edward Hopper's Evening," The Connoisseur,
vol. 205, no. 823, September 1980, p. 56.).
"Hopper’s fascination with the ‘feel of night’ began as early as 1914
with his
most ambitious French composition, Soir
Bleu (1914). He continued the theme on his return to New York
with
his series of nocturnal etchings Night
on the El Train (1918), Night in the Park (1921),
and Night Shadows (1921),
as well as in
later paintings like Night
Windows (1928, The Museum of Modern Art, New York), Office at Night (1940, Whitney
Museum of American Art), and Nighthawks.
As in Shakespeare at Dusk,
these works demonstrate Hopper’s attraction to certain qualities of the
evening—mystery, silence, lust, and despair—which can also be detected
in his
favorite poetry. He quoted often from Verlaine’s “La Lune blanche,”
which
recalls the calm of the twilight hour seen in the present work.
"The distinct emphasis on the time of day is apparent in his titles,
which
regularly indicate a general hour. His twilight imagery, such
as Railroad Sunset (1929,
Whitney
Museum of American Art), House
at
Dusk and Cape Cod
Evening (1939, National Gallery of Art, Washington, D.C.),
and
the present work, recalls Goethe’s “Wanderer’s Nightsong,” a poem that
he
described as “an extraordinary visual picture” (as quoted in Gail
Levin, Edward Hopper: An Intimate Biography,
New York, 1995, updated & expanded 2007, p. 266).
"In this evocative image of Central Park at twilight, Shakespeare at Dusk Hopper
masterfully conveys the sensation of early evening as the vestiges of
sunlight
fade and day cedes to night. He ruminates on the passage of time and
the
unknown associated with the oncoming darkness. While he often
represents
this idea in the form of voids, as in Automat (1927, Des Moines Art
Center, Iowa) and Two Comedians (1966,
Private
collection), his treatment of this theme is more subtle and suggestive
in the
present work. Hopper radically rethought his art following his
1933
exhibition at the Museum of Modern Art. Painted in
1935, Shakespeare at Dusk can
be seen as a metaphor for the new direction of his work, one that would
be less
populated and increasingly existential.
"Hopper’s art, like the poetry and prose that he loved, often suggests
more than
it reveals. 'By refusing to be narrative and aiming instead at
suggestive
symbolic content,' writes Gail Levin, 'Hopper at his best created
paintings
which express the psychological pulse of their time and yet speak for
all time'
('Edward Hopper’s Evening,' The
Connoisseur, September 1980, p. 59). Hopper stated, 'I look
all the time for something that suggests something to me. I think about
it.
Just to paint a representation or a design is not hard, but to express
a
thought in a painting is. Thought is fluid. What you put on canvas is
concrete,
and it tends to direct the thought. The more you put on canvas the more
you
lose control of the thought. I’ve never been able to paint what I set
out to
paint' (as quoted in Gail Levin, Edward
Hopper: As Illustrator, New York, 1979, p. 6). Dusk, with its rapidly
fading
light and evolving hues, manifests this statement."
The lot has an estimate of
$7,000,000 to $10,000,000. It
failed to sell.
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